Allegra, starring Maureen Lipman Review
Written by Philip for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review. All views are our own
Peter Quilter’s new comedy Allegra continues its tour with a stop at Richmond Theatre before heading into the West End later this year. The production stars the incomparable Dame Maureen Lipman in the title role and reunites her with acclaimed director and choreographer Stephen Mear.
Allegra is a woman who embraces life with unbridled enthusiasm—an irrepressible force of positivity whose exuberance radiates through every interaction. The world around her, however, does not always share her outlook. To many, her relentless optimism, and particularly her penchant for song, is less a source of delight than a cause for irritation. Allegra sings constantly: to herself, to others and, on occasion, in full-blown musical reveries that blur the line between private expression and public performance. It is both her greatest joy and the source of her greatest conflict.
Concerned for her wellbeing, her younger brother Ronen decides that Allegra can no longer manage entirely on her own and arranges for her to receive some support. Enter Anna, a compassionate and capable woman who quickly becomes far more than a carer. She is assistant, confidante and friend, and the bond that develops between the two women is both immediate and deeply affecting.
Yet just as this newfound companionship begins to flourish, trouble arrives. Several of Allegra’s neighbours and acquaintances have grown so weary of her incessant singing that they have lodged complaints with the police in an effort to silence her. For Allegra, however, this is about far more than noise. To her, these complaints represent an attempt to extinguish her spirit and diminish the very thing that brings her joy. What begins as an eccentric comedy suddenly reveals a far more poignant heart, shifting with surprising ease from whimsical absurdity to genuine emotional weight.
Maureen Lipman is, quite simply, magnificent. Armed with razor-sharp comic timing and a seemingly effortless ability to land every witty rejoinder, she imbues Allegra with warmth, vitality and humanity. Her performance is richly entertaining, but it is the glimpses of vulnerability beneath the character’s buoyant exterior that prove most affecting. As the pressure mounts and Allegra’s way of life comes under scrutiny, Lipman allows the cracks to appear with remarkable subtlety.
John Middleton provides excellent support as Ronen, a man whose life seems governed by frustration. His exasperation with Allegra stems not from impatience but from profound concern, while his anger at the systems and structures that fail to support her is equally palpable. Middleton skilfully balances these competing emotions, creating a character whose devotion to his sister is never in doubt.
Elizabeth Bower is equally impressive as Anna. Possessing both strength and sensitivity, she brings a quiet dignity to the role and establishes a believable and touching rapport with Lipman. Her patience and compassion are evident throughout, making the moments when her frustrations finally surface all the more powerful.
Completing the cast is Bailey Patrick as PC Rogers, the reluctant messenger of unwelcome news. Initially tasked with addressing complaints about Allegra’s behaviour, he gradually finds himself disarmed by her warmth and sincerity. Patrick captures this internal conflict deftly, allowing the character’s sympathies to evolve in a way that feels entirely natural.
Indeed, frustration emerges as one of the play’s defining themes—so much so that it begins to feel like an unseen character in its own right. Quilter explores society’s often uncomfortable relationship with difference, questioning the impulse to suppress individuality in pursuit of conformity. Through its varied cast of characters, Allegra interrogates where the boundaries lie between personal freedom and social responsibility, asking whether eccentricity should be corrected for the comfort of others or celebrated as an essential expression of self. It is a thoughtful and surprisingly nuanced exploration of what it means to live authentically in a world that frequently demands otherwise.
Mear’s direction is elegant and assured, maintaining a deft balance between comedy and pathos. When Allegra retreats into the musical landscapes of her imagination, the production embraces a joyful sense of theatrical abandon, allowing reality to momentarily give way to fantasy. Quilter’s script is witty, compassionate and infused with genuine affection for its characters.
And yet, for all its considerable charms, there remains a sense that the production never quite fulfils its potential. There are moments when both its emotional depths and comic heights feel tantalisingly within reach but ultimately underexplored. A greater willingness to lean into these extremes may have lent the piece additional poignancy and theatrical impact.
Nevertheless, Allegra remains an engaging, heartfelt and thoughtfully crafted work, anchored by a superb central performance from Lipman. Rich in humour and compassion, it offers a timely reminder of the importance of embracing those who refuse to fit neatly within society’s expectations. As it continues its tour and prepares for its West End run, it seems destined to find an appreciative audience.
Allegra is playing at Richmond Theatre until Saturday 13th June before continue its UK tour and stint in the West End at the Harold Pinter Theatre from 8 July - 8 August.
★★★★
